{"id":526,"date":"2017-05-24T10:49:29","date_gmt":"2017-05-24T08:49:29","guid":{"rendered":"http:\/\/karinemaan.cluster023.hosting.ovh.net\/?p=526"},"modified":"2026-03-03T07:17:06","modified_gmt":"2026-03-03T06:17:06","slug":"526","status":"publish","type":"post","link":"https:\/\/www.karinemaussiere.com\/?p=526","title":{"rendered":"Bio"},"content":{"rendered":"\t\t
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B\u00e2tie selon une d\u00e9marche sensible et s\u00e9rielle, ma pratique artistique li\u00e9e \u00e0 la marche et au d\u00e9placement, s\u2019efforce de saisir des sujets paysagers ou d\u2019\u00e9v\u00e8nements naturels tout en interrogeant ma perception de ceux-ci. Cela se traduit par la r\u00e9alisation de photographies, de vid\u00e9os, la cr\u00e9ation de graphies.<\/p>

Dipl\u00f4m\u00e9e de l\u2019Ecole Sup\u00e9rieure des Beaux Arts de Marseille, je construis mon \u00e9criture plastique sur la question du point de vue autour des dialectiques apparition\/ disparition, construction\/d\u00e9construction de l\u2019image.<\/p>

Dans ma relation au monde, j\u2019explore les techniques photographiques et vid\u00e9os et choisis de mettre le paysage au c\u0153ur de mes pr\u00e9occupations. La qu\u00eate d\u2019une appropriation du paysage habite ma recherche artistique. Cette appropriation se fait par l\u2019image mais aussi et surtout par le mouvement du corps. Depuis, la notion du mouvement est comme un leitmotiv.<\/p>

Mon travail traite du vide. Ce vide refl\u00e9terait-il l\u2019absence de l\u2019\u00eatre ou, au contraire, une pr\u00e9sence en creux, un \u00ab potentiel \u00bb, quelque chose qui attend d\u2019\u00eatre rempli, et par extension d\u2019\u00eatre r\u00e9alis\u00e9 ?<\/p>

Proche de l\u2019underground, je r\u00e9alise en 1995 au Rolleiflex, une s\u00e9rie photographique intitul\u00e9e Lieux de f\u00eates. Cette s\u00e9rie sera le d\u00e9but d\u2019une recherche sur le lieu id\u00e9al. Partie \u00e0 Berlin, je d\u00e9rive dans la ville et dessine des lignes de mes marches, nomm\u00e9es\u201cgraphies du de\u0301placement\u201d. Bruxelles, Londres, Lisbonne, Barcelone, Rome suivront…<\/p>

C\u2019est lors d\u2019un tour du monde en 2006, arpentant les plus grandes m\u00e9gapoles, que j’initie le photophone. Au geste spontan\u00e9 suit des notes visuelles nourrissant mon blog<\/a>.<\/p>

\u00ab\u00a0Adepte du Iphone, blogueuse<\/a>, Karine Maussi\u00e8re revisite le genre du road-movie intimiste. Au gr\u00e9 de ses d\u00e9ambulations et voyages, elle multiplie les images qui sont autant de fragiles petits po\u00e8mes de l\u2019errance, o\u00f9 l\u2019enfance – celle de ses filles -, occupe une place centrale. <\/em>Parall\u00e8lement, elle se consacre \u00e0 des recherches plus formelles. A la montagne ou \u00e0 la mer, elle \u00e9labore des polyptyques constitu\u00e9s de minuscules Polaroids.<\/em>\u00a0\u00bb Yannick Vigouroux<\/p>

Depuis plusieurs ann\u00e9es, je cherche \u00e0 d\u00e9gager des caract\u00e9ristiques d\u2019un mouvement : je trace des lignes<\/b> invisibles, collecte<\/b> et d\u00e9veloppe un int\u00e9r\u00eat \u00e0 la pratique de la botanique comme forme artistique, dessine<\/b> le rythme lent de la formation des choses<\/i>, utilise la photographie<\/b> afin de r\u00e9v\u00e9ler des fragments<\/i> du paysage,\u00a0 manipule des cartes<\/b>, collages<\/i>.<\/p>

En perp\u00e9tuelle red\u00e9finition ma recherche m\u2019am\u00e8ne \u00e0 privil\u00e9gier le mouvement \u00e0 la forme fixe, la texture de flux et de glissement a\u0300 une identite\u0301 pose\u0301e. Je navigue entre les repr\u00e9sentations picturales (Tiers Paysages, Le temps en friche, Le temps en ruines…) et narratives (Les saisons, Le partage des eaux).<\/p><\/div><\/div><\/div><\/div><\/div><\/div>

Depuis plusieurs ann\u00e9es, je suis mandat\u00e9e par les Ateliers de l\u2019image et le FRAC PACA sur des projets d\u2019Education \u00e0 l\u2019image, privil\u00e9giant l\u2019articulation entre le \u00abvoir\u00bb et le \u00abfaire\u00bb ; avec la galerie des Grands Bains Douches, je propose des explorations et balades urbaines, avec la participation active de la population, favorisant les \u00e9changes, la mixit\u00e9 sociale, les \u00e9changes interg\u00e9n\u00e9rationnels.<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Adopting a sensitive and serial approach, my artistic practice, structured by walking and moving, strives to grasp landscape or natural events while at the same time questioning my perception of them. These preoccupations are embodied by photographs, videos, drawing, graphics.<\/p>

A Fine Arts graduate, I devote myself to landscape photography and urban wastelands, these material spaces hosting imagination. I construct my artistic work on the dialectical issues around appearance\/disappearance and construction\/deconstruction of the image. The quest of landscapes’ appropriation inhabits my artistic research. This appropriation is accomplished through photography but also and especially by physical movement. The notion of movement is like a leitmotif.<\/p>

My work deals with vacuum. Does void reflect a lack of being or, conversely, a presence as if in recess, a \u00ab\u00a0potential\u00a0\u00bb, something waiting to be filled, and by extension to be achieved?<\/p>

Close to the music underground, in 1995 I produced a photographic series entitled Lieux de F\u00eate. <\/i>This series marked the beginning of a search for ideal place<\/i>. I went to Berlin where I wandered\/roamed the city and then drew the lines my walks took. I called this my \u00ab\u00a0graphics of movement\u00a0\u00bb ((ou \u201cmovement in writing\u201d ?)). Then followed Brussels, London, Lisbon, Barcelona, Rome…<\/p>

In 2006, I took a round-the-world trip, and walked in megacities. I initiated the smartphone pictures. After spontaneous gesture, visual notes follow to feed my blog.<\/p>

Adept of the Iphone, blogger, Karine Maussi\u00e8re revisits the genre of <\/i>the <\/i>intimate road-movie.<\/i> Through her <\/i>deambulations <\/i>and journeys, she multiplies images that are fragile little poems of wandering, where childhood – that of her daughters – occupies a central place.<\/i> At the same time, <\/i>she <\/i>devotes <\/i>herself <\/i>to more formal research.<\/i> In the mountains or in the sea, <\/i>she <\/i>develops polyptychs <\/i>composed <\/i>of tiny polaroids.\u00a0\u00bb Yannick Vigouroux<\/i><\/p>

For several years, I have been attempting to identify the characteristics of a movement and to clairify the line, the route, the trace, the gesture.<\/p>

Undergoing perpetual redefinition, my research leads me to prefer movement to the fixed form, the texture of flux and sliding to a posed identity. I navigate between pictorial representations (Tiers Paysages, Le temps en friche, Le temps en ruines…) and narratives (Les saisons, Le partage des eaux).<\/p>

For several years now, I have been mandated by the Ateliers de l’image and the FRAC PACA on projects of Education \u00e0 l’image (Critical approach to images), favouring the articulation between \u00absee\u00bb and \u00abdo\u00bb. With the Les Grands Bains Douches Gallery, I propose urban explorations and walks, with the active participation of the population, favoring exchanges, social diversity, intergenerational exchanges.<\/p>

Thanks to Frances Dal Chele for the correction.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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blog et contact :
http:\/\/kalucine.blogspot.com
<\/a>kalucine@gmail.com \/ +262 6 93 63 91 31<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

B\u00e2tie selon une d\u00e9marche sensible et s\u00e9rielle, ma pratique artistique li\u00e9e \u00e0 la marche et au d\u00e9placement, s\u2019efforce de saisir des sujets paysagers ou d\u2019\u00e9v\u00e8nements naturels tout en interrogeant ma perception de ceux-ci. Cela se traduit par la r\u00e9alisation de photographies, de vid\u00e9os, la cr\u00e9ation de graphies. Dipl\u00f4m\u00e9e de l\u2019Ecole Sup\u00e9rieure des Beaux Arts de […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_theme","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-526","post","type-post","status-publish","format-standard","hentry","category-about"],"_links":{"self":[{"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=\/wp\/v2\/posts\/526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=526"}],"version-history":[{"count":19,"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=\/wp\/v2\/posts\/526\/revisions"}],"predecessor-version":[{"id":3954,"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=\/wp\/v2\/posts\/526\/revisions\/3954"}],"wp:attachment":[{"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.karinemaussiere.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}